“The Devil’s Wife” by Carol Ann Duffy is a tragic and powerful poem. Written in the form of a dramatic monologue, Duffy adopts the persona of Myra Hindley, the notorious Moors Murderer. “The Devil’s Wife” consists of five individually titled sections, each describing an individual part of Hindley’s experiences from meeting Brady to feeling sorry for herself while sitting in her prison cell. Themes relating to avoiding responsibility, self-pity and her fear of society’s reaction to her crimes are explored as Duffy creates an effective persona One way in which an effective persona is created through Duffy suggesting that Hindley avoiding responsibility for her actions. Straight away, the persona makes out that Brady possessed her. The persona tells us that “he …show more content…
The persona tells us that she was “The Devil’s Wife”. This suggests to us that Brady was the truly, most evil of the two and that he had authority over her and she just accepted and went along with whatever he asked her to do. She creates the idea of Brady being the puppet master and she was the puppet, doing everything he told her to do. By creating this idea, it means she can avoid responsibility for her crimes. The third idea created by this line is that she was the traditional wife who had to fall in line with her more dominant husband. The persona also makes out that Hindley was a normal person before Brady corrupted her and ‘made her’ evil. It tells us that “I swooned in my soul”. This creates a biblical analogy to ‘The Fall’ in Genesis where Eve chose to eat the apple from the tree in God’s garden that the serpent told her not to. By bringing up this analogy, it suggests Hindley was corrupted by Brady and that she was innocent until this happened. The word choice of “swooned” is associated with women being very fragile and weak (more specifically weaker than men). Again, it creates the idea that she was led towards evilness by a stronger
The power of women is different than that of men. Women display a subtle and indirect kind of power, but can be resilient enough to impact the outside world. In Trifles, Susan Glaspell delivers the idea that gender and authority are chauvinistic issues that confirm male characters as the power holders, while the female characters are less significant and often weak. This insignificance and weakness indicated in the play by the fact that the women had the evidence to solve a murder, but the men just ignored the women as if they had no value to the case at all. This weakness and inability of the female to contest the man’s view are apparent. According to Ben-Zvi, “Women who kill evoke fear because they challenge societal constructs of femininity-passivity, restraint, and nurture; thus the rush to isolate and label the female offender, to cauterize the act” (141). This play presents women against men, Ms. Wright against her husband, the two women against their spouses and the other men. The male characters are logical, arrogant, and stupid while the women are sympathetic, loyal, and drawn to empathize with Mrs. Wright and forgive her crime. The play questions the extent to which one should maintain loyalty to others. Mrs. Peters and Mrs. Hale try to withhold incriminating evidence against Mrs. Wright, and by challenging the reader to question whether
Politics create a perception that illegal immigrants are all horrid human beings and deserve to be deported back to Mexico. There are a number of Mexicans who look to cross the border to the United States because they are in trouble and they must do whatever they can in order to survive. Regardless of this, citizens of the United States immediately ask for the heads of illegal immigrants and jump to conclusions that these people are crude and selfish although they are just trying to support their families. Luis Alberto Urrea tackles this problem regarding Mexicans attempting to cross the border in his book, The Devil 's Highway: A True Story. Urrea retells the story of the Yuma 14, also known as the Welton 26, and their attempt to cross the
Following Abigail’s behavior in the forest, the evil in her becomes even more evident throughout the play, supporting her devil figure characterization. In Act One, after Betty wakes up from her “illness” Betty says that sh...
Anna Julia Cooper’s, Womanhood a Vital Element in the Regeneration and Progress, an excerpt from A Voice from the South, discusses the state of race and gender in America with an emphasis on African American women of the south. She contributes a number of things to the destitute state African American woman became accustom to and believe education and elevation of the black woman would change not only the state of the African American community but the nation as well. Cooper’s analysis is based around three concepts, the merging of the Barbaric with Christianity, the Feudal system, and the regeneration of the black woman.
Can you imagine yourself locked up in a room with no doors? Similar to a room with no doors, there is no way out of hell if it was one's destiny. In the short story "The Devil & Tom Walker" by Washington Irving, the main character's fate is hell because of his wrong decisions in life, accepting a deal with the devil for earthly benefits. Irving reinforces his message about not making decisions that may damn your soul with the use of literary elements and figurative language. Wisely, Irving combines characterization, mood and point of view to perpetuate the theme of the story in the reader's mind.
“Devil Got My Woman” by Skip James has a very slow speed and beat. This song also sounds sad not only in the music but also in the lyrics because it is about a woman who didn’t treat him right and he never should have loved her in the first place. Skip James’ voice was very rustic and he wailed some of the lyrics, giving the song a soulful tone. The instruments of this song seem to be acoustic guitars, which didn’t overpower the singer and his lyrics that appeared to be the main focus of the song.
As they got older, Hindley and Heathcliff alter their actions and expressions, becoming exceedingly fearsome, terrorizing men. After his father’s passing and new ascendancy over Wuthering Heights, Hindley starts to treat Heathcliff with a belligerent ...
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
Hindley’s obstructive actions, imposed on Heathcliff’s life, expand an internal anger that arouses as Heathcliff’s time at Wuthering Heights draws to a close. The negligent and condemnatory conditions advanced by Hindley transform Heathcliff’s futuristic outcome and supply him with motives to carry out vengeance on multiple personalities involved in the plot. Heathcliff’s troubled social environment renders it difficult to determine the ethical legitimacy behind his decisions, contributing to the moral ambiguity of his
Inferno follows the story of Dr. Langdon and Sienna Brooks as they travel through Florence trying to stop a mad man from setting loose a disease that could wipe out huge amounts of populations as a way to solve the world’s overpopulation problem. This disease being later shown to be a vector virus that make’s 1/3 of humans actually sterile instead. Langdon however has no memory of anything and has to retrace his steps in order to stop the possible outbreak. Many of the places told in the story all have to deal with significant areas within Florence herself. Florence is the breeding ground of the world’s most famous artists and have inspired books and even video games alike. From the Boboli Gardens to the Florence Baptistry.
In the 1960’s women roles were changing they were getting more involved in the American society. While working as a journalist Susan Glaspell reported a case of a murder which influenced her to write the play Trifles. In the play, Trifles the women are being presented as weak and powerless, a murder has been committed by Minnie Wright. There are a total of five characters in the play, three of them are men and the other two are females. The males are the county attorney, sheriff, and a neighbor farmer. The women are Mrs. Peter and Mrs. Hale. The men are searching for clues to convict Minnie of the crime, while the women find the most important pieces to the crime. In the play “Trifles” by Susan Glaspell, the author demonstrates feminist stereotypes, representations of genders during the era when women had less power.
Heathcliff starts off as a young innocent boy, who does not know anything. He is adopted by the Earnshaw family, and then Hindley mistreat Heathcliff as they grow up. Hindley notice that Mr. Earnshaw, his father favors Heathcliff more than him, right away he sees Heathcliff as an enemy. Hindley goes to college and later returns after his father death and seeks revenge on Heathcliff by putting him back to his place. “He has been blaming our father (how dared he?) for treating H. too liberally; and swears he will reduce him to his right place.”(pg15) Hindley starts by mistreating Heathcliff again just as Hindley did in the first place. His grudge of Mr. Earnshaw's love for the gypsy sets off a reaction for abuse and mistreatment towards him. He physically abuses Heathcliff makes him sleep next to the horses, brings him down to a servant and is not allowed to see Catherine. Hindley’s determ...
The presentation of childhood is a theme that runs through two generations with the novel beginning to reveal the childhood of Catherine and Hindley Earnshaw, and with the arrival of the young Liverpudlian orphan, Heathcliff. In chapter four, Brontë presents Heathcliff’s bulling and abuse at the hands of Hindley as he grows increasingly jealous of Heathcliff for Mr. Earnshaw, his father, has favoured Heathcliff over his own son, “my arm, which is black to the shoulder” the pejorative modifier ‘black’ portrays dark and gothic associations but also shows the extent of the abuse that Heathcliff as a child suffered from his adopted brother. It is this abuse in childhood that shapes Heathcliff’s attitudes towards Hindley and his sadistic nature, as seen in chapter 17, “in rousing his rage a pitch above his malignity” there is hyperbole and melodrama as the cruelty that stemmed from his abuse in childhood has been passed onto Isabella in adulthood.
After Heathcliff gets revenge by bankrupting Hindley for mistreating him (which was Hindley’s revenge for Heathcliff having become his father’s favorite), Hindley’s desire for revenge multiplies. At first he simply wanted to separate Heathcliff from Cathy, but now he tells Isabella, “I will have [my house] back; and I’ll have his gold too; and then his blood; and hell shall have his soul! It will be ten times blacker with that guest than ever it was before!” (124). Hindley’s desire for revenge has become murderous and intensely cruel, to the point of wishing Heathcliff’s soul to be in Hell. Heathcliff, originally abused by Hindley, has become the abuser and appears to grow more greedy for revenge as the plot develops. When he explains to Catherine, “ You are welcome to torture me to death for your amusement, only allow me to amuse myself a little in the same style” (100), he is showing her that she can torture him as much as she wants, but he will pass all of this pain onto someone else. The remedy to his pain is to become the inflictor of pain. Compounding his emergence as the abuser, later in the novel Heathcliff develops an interest in tormenting Hindley’s son, Hareton. He wants to “see if one tree won’t grow as crooked as another, with the same wind to twist it!” (165), meaning that that he was blown by the wind and became twisted by Hindley, now he will return the favor to Hareton, denying Hareton an
In the eyes of a non-religious person, the figure of Satan might appear as an obsolete, mythical character of an antiquated view of the world. However, upon immersing oneself in the study of this persona, one can observe the strong belief in its power and the influence that the figure of Satan represents in the religious world. One might wonder how such a feat is possible even after hordes of scientists and academics objected to the existence of such a fabled character. Moreover, many theologists advanced theories that strived to diminish the importance of Satan in order to achieve a more monistic religion. It would be normal, nowadays to find the figure of Satan relegated to the status of a mere myth of the old times much like the ancient